IntroductionFor
decades, manufacturers have produced high-end stereo components that
deliver music playback so real that you can practically reach out and
touch your favorite musician. Although home theatres with multi-channel
surround systems have been commonplace since the early 1990s, there
have been few options for the ultimate level in multi-channel
reproduction. Such systems came at a price that invoked shrieks from
even the wealthiest consumers. Many are familiar with the likes of the
Mark Levinson No. 40, priced at over $30,000 and the Meridian G68 and
Reference 861, at $8,000 and $20,000 respectively, just to mention a
few. In the growing group of sub-$5,000 processors, can the Anthem
AVM30 bring on the highest level of performance at a fraction of the
cost of these mega-processors? One glance at the feature list and the
$3,000 price tag tells me the Anthem AVM30 preamp/processor/tuner may
well be the brightest contender on the price and performance landscape.

This North American-made preamp/processor/tuner is the
successor to the popular AVM20, which was reviewed in AVRev.com a few
years back. The new model has many new improvements and some important
additions. However, one addition that Anthem did not include with the
AVM30 is extra cost. Actually, the AVM30 costs about $400 less than the
AVM20. The most surprising aspect of the price reduction is that it did
not reduce the product’s functionality, capability or performance. In a
time when it is easy to justify raising the price of a component by
adding a few bells and whistles, Anthem’s approach runs against the
norm. The product positioning is interesting, as it comes in under the
cost of similar performers, such as Sunfire’s Theater Grand IV or
Krell’s Showcase, both of which retail for $4,000. The AVM30 trumps
both of these products with full bass management and speaker-distance
compensation for its multi-channel analog input. This feature has been
long awaited and is long overdue. Finally, here are the tools to
fine-tune playback of SACD and DVD-Audio.

Sharing the same general chassis size as its predecessor, the AVM30 is
five-and-seven-eighths inches tall, 17 inches wide, 14 inches deep and
weighs a hefty 28 pounds. The front panel has a more refined look to it
than its predecessor did, with a finely brushed clear anodized or black
aluminum finish. The blue display is a nice touch that is easily read
and highlights the gorgeous metalwork of the panel. Blue LEDs indicate
the source path and zone in use. Red LEDs indicate the source in use. I
was able to make adjustments to the system without use of the onscreen
display, which says a lot about the amount of information that can be
seen. The only issue with making changes at the front panel is the
visibility of the labeling for each indicator and button, which should
either be backlit or use larger text size. It is a bit too small and
the black lettering doesn’t contrast well enough with the clear
anodized finish of the review unit in some lighting conditions. I run a
projection system and turning on a light really isn’t desirable. Not a
big deal, just a note worth mentioning.

A large two-inch master control knob on the right-hand side of the unit
controls the levels for surround mode, bass and treble, balance,
display brightness and the FM tuner section. The volume has a detented
attenuation of 0.5 dB increments. The knob has a nice feel to it.
Around the knob are buttons for the surround mode, headphone settings
for bass, treble and balance, and the subwoofer LFE level settings. All
of the functions on the front panel are laid out in an organized and
easily understood manner.

The AVM30 universal remote is nicer than most and has a good feel, with
an easy to grip surface finish and an organized layout of large backlit
buttons that are approximately the same color as the main display on
the face of the unit. Thanks go out to Anthem for recognizing that most
theaters are dark and remotes need to be backlit. This seems
fundamentally simple, yet most remotes are not backlit and consumers
are forced to struggle when using them during movies. The AVM30 has a
learning remote that has all of the functions that are on the unit
itself, plus a few extra features, such as AM/FM direct entry and
source seek, which will automatically sense an operating source and use
this signal.

The AVM30 has all but one of the latest decoding schemes for music and
movie playback, Dolby Pro Logic IIx, which is currently available as a
free download, and the indicator is already on the front panel in
anticipation of the addition. Anthem is committed to keeping the AVM30
as future-proof as possible by offering downloads from their website to
keep the software as current as possible.

Besides Dolby Pro Logic II, Dolby EX, DTS Neo: 6, EX Matrix, ES
Discrete and THX Ultra2/THX Surround EX with four optional modes, the
AVM30 has proprietary Anthem–Logic Music™ and Anthem–Logic Cinema™,
which is a decoding scheme for older two-channel source material. All
of this processing power is handled by the powerful Motorola® 56367 DSP
chip.

The back panel of the AVM30 is the best I’ve seen for real estate
management. Anthem chose to put the input on a black background and the
outputs on a white background, which helps tremendously in sorting out
the myriad of connections required for my situation, and is a very nice
touch that makes life a lot easier.

Video switching and multi-zone manipulation is a strong point with the
AVM30, giving the owner a plethora of options for distributed audio and
video. There is no shortage of connections: seven S-video and
composite-video inputs, four sets of component-video inputs and a pair
of component outs with corresponding S-video and composite outputs, two
composite and S-video outputs, and two sets of video outputs for each
zone, either S-video or composite. The absence of HDMI or DVI switching
raises an eyebrow, though. HD transmission from the source to the
display can be handled by the component input and output on the AVM30,
but what if you have a digital display that wants to stay in the
digital domain? In this instance, you would have to bypass the
switching capability of the AVM30. Things start getting tricky when you
have to set things up outside of your main control system. At this
time, Anthem is putting together hardware upgrades for the AVM20, AVM30
and Statement D1 and hopes to have them completed by summer, but
encourages customers to visit their website regarding the latest
updates.

For audio, the AVM30 has seven S/PDIF RCA inputs, seven pairs of RCA
single-ended inputs, three Toslink digital inputs, one AES/EBU XLR
input, a pair of XLR stereo inputs, six analog RCA inputs for SACD or
DVD-Audio, four pairs of single-ended analog outputs for the two
additional zones and recording, and 10 XLR and single-ended outputs to
run to your amplifier. Additionally, there are connections for three
relay triggers, an RS-232E port, 12-volt triggers, I.R. emitters and FM
antenna, and a blank panel for an IEEE 1394 interface connector, which
I’m assuming is a future update.

Set-upThe
flexibility doesn’t stop with the multi-zone set-up. Using the quick
start guide provided with the AVM30, I installed the unit in my system
and had music playing in no time. Using the OSD, I started with setting
the time and day. This gives the AVM30 the ability to be an alarm clock
with two different timers for each zone. You can turn your gear on at
any time during the day or set it so that it will turn off at night if
you happen to fall asleep. That’s pretty cool.

Next up
was speaker configuration. The AVM30 gives you two different bass
management set-ups for cinema and music, so you can really dial in the
LFE in each application based on the style of listening you like.

Size; level matching, crossover settings for each speaker and subwoofer
phase, polarity and crossover can be easily set up in one menu. The
distance from the listener can be dialed in to within six inches of the
listener’s position and level matching is at .5 db increments, which is
more than adequate for most installations. I would prefer a finer
adjustment for speaker position, but using my trusty Radio Shack SPL
meter, I was able to get the AVM30 pretty much where I wanted it. A
nice aspect of the AVM30 is the ability to adjust levels on the fly
without having to get into the setup menu. Different program material
will sometimes benefit from small tweaks and to get that ability
without the OSD is pretty cool.

Source set-up pays big dividends when time and patience is spent in
setting up the configurations for each of your components. The AVM30
makes it straightforward for the user to set up surround modes, level
match components, adjust equalization, assign audio and component video
input, and change the name of the source you are setting up for
optimizing movie or music playback.

The room resonance filter is a tool by which you can tame nasty
resonance peaks by means of a single notch filter. By determining the
offending low frequency with an SPL meter or your calibrated ear, you
can center the AVM30 on that particular frequency and reduce the dB
within a 3 or 18 Hz range. Be aware that this can have an adverse
effect if done wrong. You might want your dealer or a trained
acoustician to set this feature up for you. The same can be said for
the supplied bass peak level, which tailors the LFE to match you main
loudspeaker capabilities. Done wrong, this could turn things sour in a
heartbeat.

Bass management and speaker location for SACD and DVD-Audio takes the
AVM30 to the front of the line with the ability to adjust LFE levels
and such for all high-resolution formats. You are no longer stuck with
the “one set-up fits most” scenario.

The MusicTo
me, if a preamp/processor can pass the two-channel listening test with
CDs, it can be said that almost everything tends to sonically follow
suit. It is an important benchmark in my mind, because a good portion
of my listening is with two-channel material, whether it be CDs or
stereo SACDs and DVD-Audio software. I like working up the sonic
ladder, because it reminds me how far digital music playback has come
in just a few years and it also tunes my ears up to the task at hand.

I started off with English prog rocker Marillion (Intact Records) and
their latest effort Marbles to explore the AVM30’s portrayal of
ethereal sonic textural landscapes. “Angelina” opens with whispery
synthesizers and deep textured bass line that paints an aural landscape
by which Steve Hogarth’s voice hangs suspended within it. Steve
Rothery’s soulful and tasteful guitar interweaves with a detailed and
delicate accompaniment of Pete Trewavas bass line. The AVM30’s
transparency is duly noted on this tune. I did not discern much
character that the AVM30 imparted to the music.

Switching over to DVD-Audio, I put in a gem I ran across recently, Pat
Travers From The Front Row…Live (Silverline Records). Silverline is
notoriously skimpy on information regarding when any artist recorded a
particular concert or at what venue it was recorded. However, if you
are a fan, you must own this disc. Recorded in 5.1 DVD-Audio at
24-bit/96 kHz and Dolby Digital 5.1 at 24 bit/48 kHz, Travers sounds
better than I’ve ever heard him. The transfer captures the live
experience with heart-thumping energy. Travers’ blues and rock style of
playing and is topnotch. Screaming sustained guitar notes with their
associated feedback sound incredibly detailed and have great presence
on “Stevie.” The thundering bass lines have a wonderful midrange and
lower register with a slight echo in the surrounds that gives you a
feel for the venue where it’s being played. Travers’ voice is locked
dead center and is crystal clear. “Getting Betta” highlights Travers’
crunchy and funky guitar riffs and unique vocal style. The AVM30 allows
this recording to carry you away to another era in rock, when guitar
gods ruled the airwaves and rock ‘n’ roll reigned supreme.

The MoviesI
tested the AVM30 for video switching to see if an additional link in
the signal path caused any degradation to the image. I currently run my
Direct TV satellite and Denon 2800 universal player though a Faroudja
NRS video processor and scaler. For a video switching unit, you would
be hard-pressed to beat the performance of the Faroudja and the benefit
of up-converting to 720P caps the deal. So, with a little trepidation,
I introduced the AVM30 to the signal path via a set of Cardas Precision
Video component video cables. I ran the Denon player and the satellite
directly to the AVM30, then to the Faroudja, which feeds the signals to
my seven-inch CRT projector. Surprisingly, I could not identify
reduction in performance induced by the AVM30. I intuitively feel like
an additional link in the chain is not the best approach, but the AVM30
put up a stiff argument against that train of thought by supplying
simplicity and system integration.

Multi-channel DVD video concerts are one of my favorites of the format.
A good mix can put you right there in the twentieth row. Dream
Theater’s “Live at Budokan” (Atlantic Records) is such a disc. Most of
the band’s sound comes from the front three speakers and crowd noises
and the venue’s ambience come through the rear channels, making you
feel a part of the audience cheering on some of the most amazing
musicians you’ll ever hear or see. The sound is very detailed and the
dynamics are crisp, bombastic and articulate. “Beyond This Life”
displays the musical prowess, speed and finesse these guys are known
for. Mike Portnoy’s double kick bass drums are thundering and detailed,
while the cymbal work shimmers and is well defined. The initial snap of
the drumstick hitting a tom or snare drum is conveyed quite well,
considering that a typical concert recording does not pay particular
attention to mike placement of this part of the drum kit. The AVM30
seems to get all of that put together right, which makes this DVD very
enjoyable. John Petrucci’s fretwork is blistering and very articulate
and the AVM30 sorts out all of this information with nary a congested
note and it sounds effortless. “New Millennium” is another favorite
that has Jordan Rudess’ subtle synth highlighting Portnoy’s cymbal and
bell work, with Petrucci overlaying soaring guitar work that
compliments James Labrie’s vocals. The AVM30 recreates the concert
experience very convincingly with great resolution and control.

“Alien Vs. Predator” (20th Century Fox) offers some nice effects. In
Chapter Nine, the exploratory team is just starting their descent into
the borehole leading down to the underground pyramid. The Predator
spaceship silently passes over the crew, leaving only a subsonic
signature in its wake. The effect produced through the AVM30 suggests a
large presence with subtle cues that outline the immensity of the craft
and passes those cues seamlessly from the left front channel through
the center and over to the right without changing the spatial presence
much, if at all. The sub frequencies really make this effect
impressive. In Chapter 14, the inside of the pyramid starts to
rearrange itself, much to the chagrin of the research team. The closing
of heavy stone gates and slabs of rock reorienting themselves is very
impressive through the AVM30. It characterizes the echo of a large
space with every nuance you would expect to hear. The movement conveys
the heavy nature of the stone through a detailed and layered grinding
and crunch that the AVM handles well.

The DownsideThe
AVM30 is not the only preamp/processor/ tuner that has yet to add HDMI
or DVI switching capability to its arsenal of tools. However, a product
that boasts video switching should probably include this feature. The
ability to stay in the digital domain for video is not trivial and is
the best performance upgrade to come down the path in quite some time.

I liked the layout of the remote, as well as the fact that Anthem chose
to backlight all of the buttons with the same cool blue light as the
display on the AVM30. I’ve complained about this oversight more than
once on other products, as I feel that this is a requirement, not a
fancy option. Nothing kills a projection system movie watching
experience faster than having to turn on the lights to change the
volume or any other function you may need to access on the remote. The
only issue I have is that there isn’t a separate button to activate the
back-lighting. Hitting any button will activate it, but on several
different occasions, I hit the wrong button looking for a function and
accidentally changed the source or did something else that brought
everything to a halt. I finally resolved the issue by first pointing
the remote away from the AVM30 and pushing a button to get my bearings,
and then entering the function I wanted. A single button away from all
of the other functions, perhaps on the side of the remote, would be one
option.

ConclusionI’ve
reviewed many products that at first appearance seemed to have a
synergistic flow to the operation, from designers who obviously had
done their homework, only to have the whole thing go south because of
funky gee-whiz gizmos that I would never use or a dozen different DSPs
that mean nothing to me, but are there because the marketing department
thought they would drag in new buyers. The AVM30 is different. It has
so many capabilities that I would have to print the manual (which is
very easy to follow and covers all of the operational aspects of the
system) and put it in this review to discuss all of the features. The
quick start guide is done very well, showing all of the options for
hooking up all of my ancillary components. It had me up and running in
no time. The set-up is also intuitive and easy to understand, allowing
the user to customize the system to the nth degree; it is can be
infinitely tailored to any imaginable configuration. I don’t think you
could spend your money any more wisely than with the AVM30. With future
software upgrades available online, the chance of obsolescence is
practically nil. The remote is easy to see and manipulate and the
display is attractive and easy to read. This unit is the
best-performing processor in its class and competes with the highest
price preamps in the world. The price is a bargain, in my opinion. In
fact, I bought the review unit. That’s the best endorsement I can offer.